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If you need to be introduced to the subject of indoor air pollution in the museum environment, I will suggest the following list of papers. Some of these papers are quite basic, others goes more in-dept with the subject. These papers will give you a good overview to the subject, list the basic "do's and dont's", and provide you with many further references.
The papers are listed below with abstract or a citation from the introduction.
Peter Brimblecombe (1990): "The Composition of Museum Atmospheres". Atmospheric Environment, vol. 24B, no. 1.
Pergamon Press. pp. 1-8.
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Abstract:
"Indoor pollutants can damage cultural property stored in museums, art
galleries, libraries and archives. The paper reviews the atmospheric
substances of concern and their sources. A relatively small number of
measurements available for the interiors are restricted to just a few gases.
The review draws attention to the lack of information about the key factors
that control the composition of museum interiors, chemical transformations
of pollutants in indoor air, the nature of emissions from materials used in
creating displays and deposition velocities onto indoor surfaces."
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Nigel Blades, Tadj Oreszczyn, Bill Bordass & May Cassar (2000): Guidelines on Pollution Control in Museum Buildings. Museum Practice, Museums
Association, London, ISBN 0-902102-81-8, 28 pp.
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From the introduction:
Air pollution can attack heritage materials. Museums, galleries, libraries
and archives are all at risk. Deterioration is usually slow and progressive
but prolonged exposure can cause severe damage.
Different materials are susceptible to different pollutants, so
organisations will face their own set of pollution-related issues. These
guidelines are intended to help:
* Museums, galleries, archives and libraries in making a rational
assessment of their risk of pollution damage to their collections.
* Architects, engineers and manufacturers designing and installing
pollution control measures
The guidelines are not prescriptive. Instead they propose a step-by-step
method to define problems and to develop and archive appropriate solutions.
There are three main stages:
* Consider the different types of materials, and the pollutants which
may affect them.
* Assess the pollution characteristics of the microenvironment of
objects, including the room or gallery; the building as a whole; and the
external environment.
* Determine what if any action is required.
If hazards are identified, you may need to test for certain pollutants and
measure their concentration. To determine the risk and reach an appropriate
solution you will need to compare pollution levels with published standards
and damage threshold levels, where these are available. However, the current
state of knowledge on acceptable levels of most pollutants is incomplete.
The main focus of this document is on the control of gaseous pollutants in
typical UK museum buildings. Other issues are only touched on as they are
covered in detail elsewhere. These include:
* Ventilation for human health and comfort
* The control of particles
* Location of air inlets
* Detailed design of ventilation systems
* Choice of filter materials
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Ann Brooke Craddock (1992): "Construction Materials for Storage and Exhibition". In: Konstanze Bachmann (ed.)(1992):
Conservation Concerns. A Guide for Collectors and Curators. Smithsonian Institution Press, Washington, ISBN
1-56098-174-1. pp. 23-28.
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From the introduction:
"Storage furniture and exhibition cases have traditionally been made of wood and wood products, with adhesives, papers, fabrics, and metals used to join, line and decorate them. As is often the case, the tried and true methods are not necessarily the best. For the past two decades studies and direct observations have suggested that traditional materials used for storage furniture are contributing to the degradation of objects rather than to their protection. This essay attempts to present sufficient data to allow an informed choice among the construction materials that are within a given budget. While some of the information may appear very technical, it will be of use in discussion a collection's storage needs with architects, engineers, and manufacturers."
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Elisabeth West FitzHugh & Rutherford J. Gettens (1971): "Calclacite and Other Efflorescent Salts on Objects Stored in
Wooden Museum Cases". In: Robert H. Brill (ed.): Science and Archaeology. The MIT Press, Cambridge MA. ISBN
0-262-02061-0. pp. 91-102.
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From the introduction:
"The titles of most of the papers presented in this symposium volume clearly indicate that archaeological chemistry is mainly concerned with the materials and the making of ancient objects. we think, however, it should also concern itself with the conservation of objects recovered from the ground, the sea, or other environments, which are now housed in museums or private collections. It has long been observed that a few ancient objects of stone, brick and plaster, especially those brought from dry countries to the more humid temperate zone, eventually become more or less covered with white crystalline deposits called efflorescent salts."
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C. Grzywacz & N. Tennent (1997): "The Threat of Organic Carbonyl Pollutants to Museum Collections". European Cultural
Heritage Newsletter on Research, vol. 10, June. European Commission - Environment and Climate Research Programme,
Brussels. pp. 98-104.
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Abstract:
"The danger posed to collections by the presesence of organic carbonyl compounds in storage and display environments is addressed on the basis of the observed damage to artifacts and pollution monitoring studies in Europe including several major British and Dutch collections. Discussion of the results from the intensive study of problems displayed by these collections is combined with information of damage in other European museums and with the results of an extensive survey in the United States involving 17 central institutions.
Pollution monitoring (acetaldehyde, formaldehyde, acetic acid and formic acid) and the analysis of corrosion or efflorescence products on artifacts has deepened the understanding of the issues. In particular, these concerted studies have led to an appreciation that:
1): The threat of acetic acid has been underestimated compared to the attention given to formaldehyde. Acetic acid is the more significant cause of the deterioration in the European museums studied.
2): Although certain "Museum Grade" products have been developed to take account of formaldehyde emissions, the acetic acid hazard has been neglected. Such apparently safe products can be a real treat to susceptible collections.
On the basis of these investigations here is a clear need for additional monitoring surveys associated with analyses of artifact deterioration. The importance of display and storage materials testing and the wisedom of subsequent monitoring is confirmed."
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Bertrand Lavédrine (1997): "An Assessment of Pollution and its Effects on Photographic Collections". European Cultural
Heritage Newsletter on Research, vol. 10, June. European Commission - Environment and Climate Research Programme,
Brussels. pp. 87-92.
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Abstract:
"It has long been supposed that pollution plays an important role in the
deterioration of artifacts stored in libraries and archives. The effect of
sulfur oxide and nitrogen oxide on paper has been extensively studied
through the use of accelerated ageing tests carried out inside pollution
chambers. Natural ageing has been evaluated by comparing collections of a
similar nature kept in cities having different levels of pollution. The
resulting observations have led to drastic recommendations for air quality
in storage rooms. It is important to stress that deterioration mechanisms of
archival documents caused by pollutants are not always clearly established.
This is because it is difficult to obtain an accurate estimation of how they
interfere with the inherent deterioration processes of the documents
themselves. Research focussing upon these mechanisms is currently under way.
Photographic documents appear to be a very good case study to demonstrate
the influence of pollutants. As a very sensitive artifact containing silver,
in many cases photographicimages have shown early signs of degradation due
to pollutants and could be considered, in some ways, as an evidence of the
growing threat of pollutants.
This paper will review the main photographic deteriorations due to
pollutants. Recommendations for the protection of photographs, air quality
in storage area and monitoring the air quality will be discussed."
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L.R. Lee. & D. Thickett (1996): Selection of Materials for the Storage or Display of Museum Objects. Occasional Paper
no. 111, The British Museum, London, UK. ISBN 0 86159 111 9. 54 pp.
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From the introduction:
"For the past twenty five years, conservation scientists at the British Museum have been world leaders in research into the sources and effects of emissions from display and storage systems in museums. A valuable object may be housed in an enclosure such as a cupboard or showcase, as its physical security id often considered to be improved; it is protected from theft and dust, and allows for environmental conditioning if required. However, this may inadverttently put an object at risk, due to emissions of harmful gases discharged by the associated storage and display materials.
In 1972, an accelerated corrosion test was designed to find materials which would be safe for long term use and would not cause degradation of enclosed artefacts. All materials used in the storage and display of artefacts at the British Museum now have to pass one or more tests before they can be used, which has made a dramatic impact on the stability of the collection.
This occasional paper has been compiled as a result of continual enquiries received by the British Museum from a wide range of professionals: designers, architects, conservators, collectors, curators, and showcase manufacturers, and indeed anyone involved in the task of creating a safe environment for precious objects. It is not the intention to cover all aspects of storage or display; the aim of this publication is to explain the background to why materials need to be tested for use with artefacts. It is also a comprehensive test manual, including full test methods for evaluating storage and display materials, with the relative merits and drawbacks of each test discussed. Practical implements of results is considered and methods to mitigate the effects of unsuitable materials are suggested. Materials which have been found to be suitable for use, including fabrics, are also listed."
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Tim Padfield, David Erhardt & Walter Hopwood (1982): "Trouble in Store". Science and Technology in the Service of
Conservation. Preprints of the Contributions to the Washington Congress, 3-9 September 1982. The International
Institute for Conservation of Historic and Artistic Works (IIC). pp. 24-27.
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From the introduction:
"Reports dating back to the nineteenth century record damage to objects enclosed within showcases or storage cupboards. The cause is often corrosive vapours emitted by the material of the showcase or even by other stored objects. On the other hand the usefulness of enclosure for security against theft, dust, and extremes of relative humidity is undeniable. This article describes our attempt to retain the advantages and to diminish the hazards of enclosing museum objects. Our approach has been to review the nature of the damage, to investigate the patterns of air circulation within small enclosures, to review the tests that have been proposed to detect hazardous materials and finally to compile lists of those materials known to be unsafe and those thought to be safe for use within ill-ventilated enclosures"
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Jean Tétreault (1992): "Matériaux de construction, matériaux de destruction". La Conservation Préventive. 3e colleque
international de l'ARAAFU. Association des Restaurateurs d'Art et d'Archéologie de Formation Universitaire, Paris, 1992.
pp. 163-176.
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Abstract:
"The materials used in the fabrication of museum structures and museum
furnishings may cause deterioration in cultural artifacts. This problem can
be avoided by ensuring that these materials are compatible with the museum's
artifacts. In addition to defining certain parametres related to the
deterioration of artifacts, the present article will deal with several types
of materials in terms of their chemical composition and certain other
properties. Procedures will be suggested for choosing materials and,
finally, the article emphasizes the advantage of including specifications
for materials in construction plans from the beginning of the project."
(The article is in French).
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Jean Tétreault (2003): Airborne Pollutants in Museums, Galleries and
Archives: Risk Assessment, Control Strategies and Preservation Management.
Canadian Conservation Institute, Ottawa, ISBN 0-662-34059-0, 167 pp. (Also
available in French: ISBN 0-662-88907-X).
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Abstract:
This book provides a wealth of qualitative and quantitative data to
identify, assess and control key airborne pollutants in indoor museum
environments: acetic acid, hydrogen sulphide, nitrogen dioxide, ozone, fine
particles, sulphur dioxide and water vapour. The pollutants
exposure-effect relationship is described and quantified based on "No
Adverse Effect Levels" (NOAELs) and "Lowest Observed Adverse Effect Doses"
(LOAEDs). Control strategies at the building, room and enclosure levels are
presented that avoid, block, dilute, filter or sorb pollutants, reduce
reactions to pollutants, or reduce exposure time. Response strategies and
monitoring are discussed. A preservation management (risk assessment)
system is presented to assess and compare pollutant risks; establish
guidelines for control strategies; establish guidelines for assessing how
well collections are protected; provide cost-benefit analysis in relation
to the museums goals and policies.
An e-supplement of the book can be found at:
http://www.cci-icc.gc.ca/links/pollutants/index_e.shtml
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Pamela Hatchfield (2002): Pollutants in the Museum Environment - Practical Strategies for Problem Solving in Design, Exhibition and Storage. Archetype, London, ISBN 1873132964
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From Archetypes announcement:
"The focus of this publication is pollutants in the museum environment, their sources, how they can harm works of art, and what to do about it. It is aimed at people who care for cultural artifacts: conservators, collections care specialists, curators, collectors and registrars. It is also useful for people who make decisions concerning building materials, furnishings, ventilation, cleaning and maintenance operations: designers, architects, engineers, managers, carpenters and painters.
The people who care for, handle and work with collections of cultural artifacts and works of art understand the sensitive nature of the materials and are in a unique position to observe changes in their condition. This publication is intended to aid them in the identification of environmental damage to cultural artifacts and of potential sources of that deterioration, resulting in the prevention of damage to these irreplaceable objects.
CONTENTS :
Sources of Pollutants in the Museum Environment
Damage to Materials
Testing for Pollutants
Mitigation of Pollutants in the Museum Environment
Using Materials in the Museum Environment
Protecting Objects in Enclosures
Appendix 1 : Commonly Used Units of Measurement
Appendix 2 : Plastics: Technical Information
Appendix 3 : Product Stability
Appendix 4 : Materials and Sources
Appendix 5 : Material Safety Data Sheets
Of particular practical interest will be the section entitled 'Practical Methods for the Mitigation of Pollutants' which develops strategies for limiting the potential for damage by the choice of low emitting materials and the use of techniques and materials to minimize hazards."
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You will find many more references at the
Bibliography
Morten Ryhl-Svendsen
© 2004
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